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The Male Body as Vacillation

Disability, Gender, and Discourse in The Men

Elisabetta Girelli

This article considers the representation of gendered disability in The Men (Fred Zinnemann, 1950), Marlon Brando’s first film. A groundbreaking yet deeply ambiguous text, the film explores notions of normative and non-normative physicality through the lens of masculinity, sexuality, and their implications for human status. In the light of key works by disability scholars and of Judith Butler’s discussion of the cultural construction of the body, this article examines the multiple and subversive meanings made available by the film, and the extent to which The Men allows for a different bodily identity based on dissent.

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Sol Neely

, simply, “Deadgirl.” He suggests to Rickie, “Sure, she’s some kind of monster, but she’s our monster.” From this point, the film plays out a disturbing and entropic portrait of the ruination of fragile masculinities predicated upon false political

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Emma Celeste Bedor

photos taken by partners or taking these photos themselves. She explains that the Internet has led to the generation of a “new sexual contract” in which, the kind of freedoms associated with young hegemonic masculinity, such as drinking and sexual

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Brian Bergen-Aurand

and the institutional ones of medical and surveillance imaging. It addresses the portrayal, function, dissemination, affect, and reception of screened bodies from the perspectives of gender and sexuality studies, feminism and masculinity studies, trans

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When the Future Is Hard to Recall

Episodic Memory and Mnemonic Aids in Denis Villeneuve’s Arrival

Hannah Chapelle Wojciehowski

Louise as “a new and improved white Malinche, [who] ‘betrays’ humans (and specifically militant masculinity) in order to ‘save’ them with the benevolent gift of the heptapod language” (2017: 40). Mayer identifies the core fantasy of the film as being

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Situating Screen Bodies

Brian Bergen-Aurand

exposed/unexposed, vulnerability/safety, masculinity/femininity, heteronormativity/queerness, and hegemony/counter-hegemony. They are, of course, not “shiny, happy people” oblivious to their environment, but rather smiling in relation to their situation

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott and Kristen Sollée

-identification with gay male subjectivity via performed and embodied masculinity. In s/m, roles of dominant and submissive or penetrator and receptor are not grounded in gender, making it an ideal space for women to phantasmatically take up the subject position

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

masculine of center womyn, men, two-spirit people, transmen, and our allies committed to transforming our privilege of masculinity, gender, and race into tools for achieving Racial and Gender Justice.” 3 They set out to create a health guide that would help

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

his “Arab” heterosexual masculinity. But in a rather ironic twist, what makes Roufa’s voyage (and future marriage) possible in the first place is the aid of a former male German lover who can likely assist him in procuring the necessary papers to

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

film as an infantilization and a loss of masculinity, Sully’s disability obscures his sense of self, which returns when he occupies the highly mobile alien form. The white former Marine is thus able to live a supposedly more authentic, natural, and